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Met De Speeltuigen Is Het Een Verwarde Boedel 1 "The Names of Instruments Are an Untidy Mess"

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Met De Speeltuigen Is Het Een Verwarde Boedel 1 Violone da brazzo, Violoncello da braccio, Bassa Viola Viola d a s palla, Schulter-Viole etc.: a four-string C-G-d-a cello. by Lambert Smit. Throughout this article eighteenth-century terms and texts are in italics. Met de speeltuigen is het een verwarde boedel 1 "The names of instruments are an untidy mess". This paper offers more unanswerable questions2 than solutions. It will discuss those Violoncello variants that were played in a more or less h orizon ta l 3 position. The smallest form of Violoncello instruments that were played in this way is the Bach-Hoffmann 5-string C-G-d-a -e1 Violoncello piccolo 4 with a body length of 45 to 46 cm, whether it is presented as Viola pom pos a or (Violoncello / Viola) d a s palla or violone piccolo d a braz z o . The following arguments, derived from old texts, show that the player who simply removes the e1-string from a Hoffmann C-G-d-a -e1 five-string instrument cannot present the result as a kind of standard 18 th-century violoncello. I. Recent documents compared with old texts. Let us compare statements in modern lexica and 18th-century German sources about Violoncello (piccolo), Viola da spalla, Viola pomposa, Schulter-Viole &c. 1 Sta tem en t by Ma tth es on s pu pil J a cob Wilh elm Lu s tig (1706-1796) Dutch theorist, organist and composer of German descent, in "Inleiding tot de Mu ziekku n de, TWEEDE DRUK, 1771." in "HET VIERDE KAPITTEL Van de MUZIKAALE INSTRUMENTEN" §. 67. 2 Cf. J oelle Morton s a rticles (www.ea rlyba s s .com ). 3 Not s trictly h orizon ta lly : th e s croll of th e in s tru m en t poin ts dia gon a lly to th e grou n d a t th e pla yer s left. See photo of the author playing one of his 5-string C-G-d-a -e1 Hoffmann copies and the figure in the Torelli Violoncello partbook. 4 see articles by Ulrich Drüner and Mark Smith (in Bach-Jahrbuch 1987 a n d 1998). Forkel (1782) and Hiller (1784) wrote a bou t Ba ch s Viola Pomposa"5 (=violoncello piccolo?): ...Es w ird w ie ein Violoncell ges tim m t, h at aber in d er Höhe eine S aite m ehr, is t etw as grös s er als eine Brats che, und wird mit einem Bande so befestigt, dass man es vor der Brust und auf d em Arm e halten k ann. 6 The New Grove Dictionary of Music & Musicians (1998) states: violoncello piccolo' was probably the term used for a five-s trin g instrument held vertically that was a little smaller than the normal cello." Probably : there is no proof offered for this statement ! The modern term Violoncello piccolo indicates a cello of nearly n orm a l s ize. So it is con fu s in g to a pply th is term to Ba ch s m u ch s m a ller Violoncello piccolo; to the best of my knowledge Bach was the first to use the term Violoncello piccolo. 7 For a player of a small Violoncello piccolo (Hoffmann copy), putting the instrument on top of the right shoulder would be inefficient: the 5 In this article no further attention is paid to the term Viola Pomposa. See Ma rk M. Sm ith s a rticle THE VIOLA POMPOSA (FoMRHI Com m . 186) and my article in Chelys Vol. 32 (2004), p. 49. 6 Ba ch Doku m en te III, Nr 731, 856 7 for the obbligato parts in BWV 6, 41, 49, 68, 85, 115, 175, 180, 183, 199. In two of these cantatas (BWV 6 and 41) Bach had the Violoncello piccolo music notated in Violino I parts. The part in BWV 5 (3rd movement) that Bach notated in the score without further specification in the Violino I staff was possibly also intended for Violoncello piccolo. In the score and the Violino I performance part the m u s ic (with a ra n ge from g to e fla t 2) is notated in alto clef. This part, if intended for a violin, would be an exceptional one for the complete avoidance of the e2 string. We may assume that Bach intended this part for a different instrument: his Violoncello piccolo, then perhaps played without an e1 string, so that the Leader could imagine that he played a viola of supernormal size (Viola Pomposa !). The next Sunday (22 Oct. 1724) the Leader had to play a Violoncello piccolo part with a range from c to b1. Two weeks later (5 Nov. 1724) the Violoncello piccolo part in BWV 115 wen t from C# to c2. Wa s it Ba ch s in ten tion to in trodu ce h is n ew instrument step by step? place of the bridge would be - in relation to the bowing arm - too far to the right, which makes it impossible to get the bow in the correct position on the strings. Perhaps we should avoid also the terms Viola/ Violoncello d a s palla, to refer to Ba ch s in ven tion , a s o ca lled Viola Pom pos a, as described by Hiller and Forkel. I have altered Vitali's term 'Violone da brazzo' to 'Violoncello da braccio' for the purposes of the following suggested nomenclature, which I have attempted to make as clear as possible: Violoncello da braccio: a relatively small (sounding string length < 50 cm) C-G-d-a bass instrument that is held in front of the chest with a band (around the neck) in such a way that the bridge is almost directly in front of the player's nose, or somewhat to the left; in this position the player can without difficulty - or with only slight difficulty, if the strings are longer - use violin fingerings. Violoncello piccolo da braccio: a small (C)-G-d-a -e1 instrument, based on th e origin a ls of Hoffm a n n , on wh ich violin fin gerin gs a re qu ite ea s ily possible. This instrument can be used for Violoncello piccolo obligato parts from the period 1724-26, for the 6th cello suite, without the e1-string for BWV 234, and without the C-string for BWV 71. If according to my hypothesis the 4-s trin g celli in Ba ch s works (including Cello suites I-V) were indeed instruments intermediate in size between da ga m ba pla yed celli a n d Hoffm a n n s sm a ll origin a l 5-string Violoncelli piccoli (alias Viole Pompose), then all cello forms that Bach originally might have had in mind can be subsumed under the u n equ ivoca l term Violoncello da braccio to distinguish them from the normal sized celli and violoncelli piccoli of modern lexica. Old docu m en ts do n ot prove th a t da spalla m ea n t on ly or m a in ly 5- string instruments. Even the term Violoncello piccolo did not always indicate 5-string C-G-d-a - e1 instruments.8 In 1708 Walther mentioned only the 4-string C-G-d-a -instrument ( pla yed like a violin , owin g to its weigh t, it is a tta ch ed to th e bu tton of th e frockcoa t ); la ter, in 1732, both Walther and Majer give only the tuning of the 4-string type. The high-soaring Violoncello part in BWV 71 (performed 4 February 1708) avoids notes below G: this suggests that Bach composed it for a G-d-a -e1 Violoncello: this instrument, the first Violoncello mentioned in original Bach sources, had only four strings. This first documented use by Bach of the term Violoncello refers to a type that clearly differed from Wa lth er s C-G-d-a Violoncello a n d from ou r cello. Violoncello Suite V clearly was not composed for a 5-string C-G-d-a -e1 instrument: the scordatura, indicated in three manuscripts, shows four strings to be tuned C-G-d-g to favor the c-minor tonality. An unspecified 5 th string tuned to e1 would be a nuisance. For this reason we may assume that Suites I-IV were also composed with a four-string instrument in mind. Ma tth es on s ph ra s e with five or even s ix s trin gs is qu oted by Walther and Zedler, both of whom give only a tuning for the four-string va ria n t. Ma jer qu otes Ma tth eson s three instrument names, viz. Violoncello, Bassa Viola and Viola di Spala and repla ces Ma tth es on s 8 Bach-Jahrbuch 1905, p 38-43: "Ein Violon Cello Pic. m it vier S eiten von J.H.Ruppert. 1724." ph ra s e with five or even s ix s trin gs with th e s ta tem en t: gem einlich m it 4. s tark en S aiten bez ogen . Apart from the tuning C-G-d-a -e1 for a five-string Violoncello piccolo there is only one other documented tuning for a 5-string Violoncello: C-G-d-a -d 1 (in Labord e, Es s ai s ur la m us ique ancienne et moderne [1780]). Eis el (1737) wh o m en tion s in Nu m .V, 3 th e 5/ 6 s trin g pos s ibility, writes in Nu m .V, 4: W ir w ollen nun bey d en gem einen viers aitigten bleiben.
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